"Mergence," "Below The Demarcation" and "Mix White" concludes the World As Will project, started ten years ago, the result of a collaboration between Polish acoustic and electroacoustic sound artist/composer Zbigniew Karkowski and Japanese noise progenitor Tetsuo Furudate. Named after the philosophy coined by Arthur Schopenhauer, the first two parts in the World As Will series have been dramatic explorations of majestic dissonance, orchestration, and looped deconstruction that are powerful challenges to any modern orchestra. Part three is commissioned and performed by the Berlin-based ensemble Zeitkratzer, who proved the impossible possible with their capable rendering of Lou Reed's Metal Machine Music for a 2002 Berlin Opera House performance. The first piece in World As Will III arises from an infrabass ocean to crudely develop through a series of distant explosions, percussive energy, and short open cuts. As a whole, the structure is reminiscent of a slow, crawling process. Tremors follow (with Karkowski, something always ends up shaking). The second piece is both the imprint and the development of the first one. Furudate's contribution to this joint venture is also easier to grasp. A menace passes by, and the listener should be more than happy to remain hidden in their hole, letting the musical beast move along in short, rusty, metallic, torn, scorched bursts. This third piece provides a cathartic and tragic conclusion to the release and to the series, achieving what could be called a sketch of absolute chaos. Zeitkratzer: Reinhold Friedl (piano/artistic director), Burkhard Schlothauer (violin), Anton Lukoszevieze (cello), Uli Phillipp (bass), Frank Gratkowski (clarinet), Franz Hautzinger (trumpet), Melvyn Poore (tuba), Marc Weiser (electronics), Maurice de Martin (percussion), Ralf Meinz (sound).